I want you to reach your music goals, whatever they are. Whether it’s to get signed to a label, get a million streams on Spotify, or make music that is part of your legacy, I’m here to support you every step of the way. I’ve helped others achieve all these things and I want to help you too!
As an artist, it’s easy to ONLY focus on making a great sounding song. We can get caught up in the technical aspects of the creation process and it drains us of creativity - which is reflected in our songs. It doesn’t take long before one loses sight of the big picture and forgets why they wrote the song in the first place!
I’m here to help you stay effortlessly creative by taking care of all the technical aspects of the music making process so you can simply create great sounding art.
By making sure every detail of your song sounds the best it can possibly be, we setup a great foundation to help you build momentum and achieve your goals.
The difference is VERY subtle, the aac sounded a tiny bit clearer vs mp3 which sounded a bit more noise-y to me. IDK if more noise makes for better quality or vice versa. Thanks for the info!
Some songs I master in Fl Studio 20, sometimes its Ozone 9 or 10 and there are times i grab Wavelab Pro 11. Depends on the sound and feel I want to achieve
Hi...This was really helpful...thanks! So, I have started on GarageBand on an iPad pro in recent years, doing my vocals on a 16 bit/48 (44?) khz mic...It records great, but, has a very small screen. I'm a trained vocalist, with some higher tones forward in places and supported notes, and have been noticing on certain range, a spot once in a while, where it will make that slight fuzz, barely detectable, only with headphones. Couldn't master it out, had to re-record that line. I'm thinking to graduate to a new USB condensor mic with 24/96, having several songs to record the vocals on and on sale. ..and hoping it will give me more "presence" . (I have several gadgets-apps to add width etc....) Appreciate your video.👍 This helped clarify the difference... I'm still undecided to spend the money now, which I will if I have to...👍ps: If you have any extra input for me on the subject...much appreciated!
Weird I was taught the exact opposite of this. That a soft clipper rounds the peaks and makes it less aggressive and the limiter just chops the peaks 🤷🏼♂️
Oxygen-free copper does not reduce capacitance. The main (only?) reason to prefer oxygen-free or high-purity copper in this application is improved corrosion resistance. Quality of soldering and the quality of the XLR plugs themselves are both important for reliability. I do recommend owning a cheap cable tester to discover wrongly-wired or intermittent microphone cables. A balanced XLR microphone cable may _seem_ to work fine, even if the shield connection is broken or wrongly connected, so a cable tester is a really quick way to verify this (better than visual inspection, IMO).
Tbh i am still a little confused , i just want an audio interface so that i can use softwares like biasfx and all for different types of pedals without any latency. Will connect it to 20 Watt amp Which bit and khz should i chose!?
Thank you so much for this brilliant explanation. I have seen Producers doing a Bounce to Audio in Logic for CPU heavy Projects and I thought "that could be a good idea" .. but didn't really know what the downsides would be especially if I lost the Midi notes being triggered from a Plugin but bouncing it to Audio as I wouldn't get them back (or at least I thought I may not do). Thanks again
I just bought waves real time tune from Sweetwater and I had no idea about this subscription crap.. does this mean I can't even use the plug-in I just paid for?
I definitely DO NOT mix into a limiter. I add mix bus processing about 1/2 way through. Usually a compressor first and then EQ before i do my automation. I do however, pay close attention to regulating peaks and maintaining good crest factor for all those reasons you explained. The thing I don't understand about mixing into a limiter is, what becomes of the mastering process if you already have the song limited at the mixing stage? You cant just take the limiter off, right? The mix would fall apart. So, do you just send the song off to be mastered with the limiter on? Are you even mastering a song that you mixed through a limiter?
Hi there, Bobby! I reached out to you via email a few days back regarding a possible partnership. I'd appreciate it if you could give it a quick review!
You should try to squeeze a few more edits I’m… don’t think there were enough!! lol JKJK if your goal was to put the most exits in a short ever you might have succeeded
Hi, I’m an alien. I’m surprise to find out you things can’t heard the dangogos flying all around you, but again, they sound frequency is above 320khz. But is ok, being deaf is like normal for you. I sure hope you can see them.
What? Why? Far too complicated, not accurate enough, and inferoor in flexibility. I never even thought to temp sync a compressor until today, but this is definitely not how I'd do it. Create a click track out of a midi loop. Run it on a parallel playlist track and send its audio output to the sidechain of your favorite compressor. This gives you many plugins to choose from, control of how much of the effect to send to the sidechain, ability to align the entire song if tempo drifts, and the ability to edit moments for personal taste.
The sidechain is there for a reason and far more useful than most ever discover. Personally, I believe more types of plugins should have them and not just dynamics processors.
To be honest I'm wondering how long it's going to take the industry to come up with parametric side chains where every plug-in has one and you can assign it to any parameter and even multiples with macros. Synths have had this for more than a decade
When I try this I get feedback loop if I turn up the volume. my connections are from the amp mic to the soundacard in and from the out of the soundcard to the input of the amp. Have I connected it correctly?
I think your suggestions make sense. Getting rid of the unnecessary frequencies of each instrument to make room for others is key. I have not yet mastered (no pun intended) this process but trying. I’m still trying to control transients while keeping dynamics.
I have a song with a lot of different types of instruments, & I have so much trouble finishing it because I can't get a clean mix. Thank you for showing me that I don't necessarily have to sacrifice any of the layers to make it happen.
Orrrrrr, mic your amp? If a band and a producer cannot simply mic drums and cabinets and make them sound kick ass in a mix, then I think both should be looking at other careers. I mean wtf are we talking about here?!?
Did you went to a recording school? I was wondering cause if you do. You would know that 44,1khz and 96khz are incompatible. 44.1khz and 48khz are two different type. To record higher sample rate for 44.1khz you would use x2 to 88.2khz.
Hello from France. My poor old UFX has known the same fate as yours for a week. For the moment, this only happens when it is turned on, then stops after a few minutes. I will let the problem evolve for a few more weeks without touching, then think about tinkering myself by following your deep water dive of electronics under the microscope, or decide to send it in after-sales service, because I am really very bad at welding... And able to make it flame or break it completely. I know that they take around $400 for a repair at RME (France and Germany are not so far away). But we must add the shipping costs.
The EV2 is the best sounding SSL plugin from Waves so far. Better resolution, less aliasing/more open, and better harmonic content. But god it's so annoying that they make all the frequency points incorrect. I don't care how off the position of the knobs of the consoles are if I boost 600hz I want it to be 600hz not 300hz, if I change to the Brown knobs i wanna hear the different harmonic content and Q value of the band and not double the frequency and change the gain. It's so frustrating, 70hz HPF on the EV2 is like 20hz.
I already had the sub zero amp from bogren. I found this by accident when I left it on and continued using my own IRs in IR Libra. I was thinking wow this amp sim sounds killer. Started toggling IRDX on and off and I was surprised. Even using it before Libra it was sounding different. Instantly bought it to use after my other amp sims.
Or you can play along with the guitar and amp to your drum plugin and tweak the settings on the amp so it sit well with the drums. A trick is to listen to the drums and what the guitar sound is doing to them. You can actually make your drum sounds more soft or harsh depending on your amp settings. Also best to adjust treble before the highs to avoid you make it too bright.
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